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Sony Pictures Home Entertainment

15 Hard-Knock Facts About Annie

Sony Pictures Home Entertainment
Sony Pictures Home Entertainment

Little Orphan Annie has been a part of American pop culture for nearly a century now—first as a comic strip which made its debut in the summer of 1924, then as a popular radio show in the 1930s, which spun off into a couple of film productions later in that decade and a hit Broadway musical in 1977. Though the musical version has been adapted to the big-screen a few times over the years, most recently in 2014, the 1982 version—starring Aileen Quinn as the titular orphan—is the best known big-screen version. On the 35th anniversary of its release, here are some things you might not have known about Annie.

1. AT THE TIME, IT WAS THE MOST EXPENSIVE MUSICAL EVER MADE.

Though the final budget varies from source to source, most agree that it cost about $40 million to produce Annie, with a large part of that budget (about $9.5 million) spent on buying the rights to the popular 1977 Broadway play the film was based on. There were also the not insubstantial costs of advertising the film and producing prints, which, according to a 1982 edition of the Los Angeles Hollywood Examiner, were around $9 million. Unfortunately, the movie’s revenue didn’t even come close to recouping its expenses.

2. THE CREATOR OF THE ANNIE MUSICAL HATED THE MOVIE.

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Martin Charnin, conceiver, director, and lyricist of the Broadway hit, had nothing good to say about what producer Ray Stark and director John Huston did to his play. When he sold the rights, he relinquished all creative control. The result, Charnin told the Hartford Courant, was this: “Warbucks, played by Albert Finney, 'was an Englishman who screamed.' Hannigan, played by Carol Burnett, was 'a man-crazy drunk.' And Annie was 'cute-ed up.' Worse, the emotional relationship between Annie and Warbucks was distorted. They even downplayed the hit song "Tomorrow'' because 'Stark thought it was corny.'"

3. JOHN HUSTON WAS HIRED TO DIRECT BECAUSE OF HIS SIMILARITIES TO DADDY WARBUCKS.

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If you wanted darkness, grit, and intrigue in your film, you got John Huston to direct it. The Maltese Falcon, The Treasure of the Sierra Madre, The African Queen, Beat the Devil, ... Annie? Huston was an odd choice, but producer Stark insisted. To Stark, the grizzled, then-76-year-old director was the embodiment of Daddy Warbucks, the gruff billionaire who shouts, “I love money, I love capitalism! I do not and will not ever love children!” (Of course there is also the rumor that Huston only agreed to do such a far-flung project because he was desperate for money.)

4. ALBERT FINNEY WAS HARDLY THE FIRST CHOICE TO PLAY DADDY WARBUCKS.

While Bette Midler was the first choice to play Miss Hannigan (a role that went to Carol Burnett), there were many actors ahead of Albert Finney on the Daddy Warbucks lineup. Finney had Hollywood experience, but the stage was more his realm. Reportedly, Sean Connery was approached, but didn’t want to appear bald. Even Cary Grant, who would have been in his late 70s at the time and hadn’t made a movie since 1966, was asked.

5. “EASY STREET" WAS ORIGINALLY A HUGE, OUTDOOR NUMBER.

The first incarnation of the show-stopping “Easy Street” was literally performed in a street, with the three enthralling villains of the film—Miss Hannigan (Burnett), Rooster (Tim Curry), and Lily (Bernadette Peters), displaying their joyous greed against a backdrop of dozens of dancing street vendors. After it was shot, Huston decided it wasn’t intimate enough and, more importantly, the setting distracted from the three enormous personalities at the center of it. Burnett, Curry, and Peters were more interesting to watch just by themselves than in a whole studio full of performers. (You can see some grainy bits from the original version here.)

6. THE RE-SHOOT OF "EASY STREET" WAS MILDLY COMPLICATED BY BURNETT'S CHIN SURGERY.

After primary shooting, Carol Burnett underwent surgery to correct her overbite and align her jaw. When she was called back to re-shoot “Easy Street,” she had a new face.  As quoted in the Chicago Tribune, she told her director about her concerns. "Mr. Huston," she remembered saying, "Two months ago, when I went into the closet, I didn't have a chin."

"Dear," he responded, "just come out looking determined."

7. NEW JERSEY'S GOVERNOR SIGNED A LAW TO ALLOW CHILDREN IN THE CAST TO WORK AT NIGHT.

Annie’s climactic scene was partly shot on the Passaic River’s NX railroad drawbridge, which had been abandoned in the raised position in 1977. The scene called for Annie to climb the bridge like a ladder with Rooster following in a murderous rage. All of this took place in the dead of night, and New Jersey's child labor laws prohibited children employed in making films from working after 11:30 p.m. and before 7 a.m. More night hours would be needed to complete the shoot, and the state government was accommodating, with Governor Brendan Byrne helicoptering to the set to sign a bill amending the law, which now allows the Commissioner of Education “the authority to amend the hours of the day during which a minor may work but not the total hours.”

8. THERE WERE AROUND 500 DIFFERENT PRODUCT TIE-INS FOR THE FILM.

Annie’s merchandising began three years before the film was released. Producer Ray Stark knew that the whole world was anticipating his movie, and he intended to use that interest toward a licensing boom. Tie-ins included contracts with Crayola, Random House, Marriott hotels, Sears Roebuck & Co., Knickerbocker Toys, Procter & Gamble, and Ken-L-Ration dog food. The products would include umbrellas, wigs, lunch boxes, dog accessories, a Parker Brothers board game, a line of Marvel Comics, Annie ice cream, Annie cookies, Annie designer jeans, and hundreds more.

9. AROUND 8000 GIRLS AUDITIONED TO PLAY ANNIE.

Two years before the film version, Aileen Quinn was in the Broadway production of Annie. She was a “swing orphan,” meaning she was trained to play any of the orphans except Annie (who, at the start of Quinn’s tenure, was Sarah Jessica Parker). Auditions for the film began in 1980 and took an entire year.

The casting director had a clever way to speed the process along, according to PBS's “Lights, Camera, Annie!” Annie hopefuls lined up and each girl sang a part of “Tomorrow,” with the next girl picking up where the last left one off. Quinn was called back eight times until the production team was totally convinced she was the perfect combination of grit and sweetness. “I was completely in shock," Quinn remembered. "I didn’t believe it until the casting agent showed me the production schedule, and I was scheduled to appear on The Today Show at 7:00 a.m. the next morning. That’s when I believed it!"

10. FINNEY HAD LITTLE EXPERIENCE WITH SONG AND DANCE.

Finney was a trained Shakespearean stage actor and widely regarded for his dramatic roles. He’d only ever sang and danced once before in a performance, in the 1970 musical Scrooge. As a crotchety Scrooge, his singing and dancing came out more like cleverly inflected growls and splay-footed leaps. Annie didn’t require him to become Baryshnikov with the voice of Pavarotti, but it did call for ballad singing and a tap dance routine.

"One of my favorite memories of him is [Albert] learning to really sing for the first time," Quinn said. "He did that beautiful version of 'Maybe' ... As he was taking singing lessons on the set, I can remember him with a cigar out of his mouth and going 'la la la la la la la,' pause, 'la la la la la la la.'" This, plus Finney’s habit of putting bottle caps under his loafers to practice his tap routine, thoroughly charmed the 10-year-old Quinn. "He was, like, in it to win it ... so adorable."

11. THE WARBUCKS MANSION WAS A REAL HOUSE, BUT ONLY BRIEFLY.

It was hard to find the right place for Oliver Warbucks to call home. Many of the grandest homes of the Gilded Age had been turned into museums, and the others had been overly featured in other movies and on television. Then Huston found Shadow Lawn, a 130-room New Jersey palace built in 1927 for Hubert Templeton Parson, the then-president of Woolworths. It was designed by Horace Trumbauer and his assistant Julian Abele, considered by some to be the first African American architect in America.

Within 10 years, Parson went broke and his home was appropriated by the city. After that, according to The New York Times, it served as a military academy, a military hospital, and a school for girls, but never again as a private home. In the 1950s, Monmouth College bought the mansion and its 108 acres, and it remains a part of the school's campus today.

12. AILEEN QUINN USED TO TEACH AT THE UNIVERSITY THAT OWNS THE “WARBUCKS” MANSION.

Years after filming her performance in Annie, Quinn returned to the scence of her childhood stardom when she began teaching at Monmouth University. According to a 2012 interview with Entertainment Weekly:

"A couple years before I started teaching, I went there for a big fundraiser to help them raise money for education. So I went back for the first time and actually got very emotional. It’s that staircase that does it. After I gave my speech they had me go up the stairs and I sang “Tomorrow." That was so surreal. I was walking down that staircase again, and even though they had tables set up for the gala, I couldn’t help but think, “Oh my god, that’s where I karate chopped and that’s where I was on his shoulders.” I actually was flashing back, and that got our wheels spinning: this is an obvious match. There were some conversations afterwards and they asked if I would be interested in teaching, and I said I would actually love that. Next thing I knew, I was teaching a theater course. 

13. THE "ORIGINAL" ANNIE MOVIE WAS NOT THE FIRST BIG-SCREEN INCARNATION OF THE LITTLE ORPHAN.

As even the most casual fan of A Christmas Story knows, Annie was a radio program before it was a movie (and she wanted you to drink your Ovaltine). But that wasn’t even close to the beginning of America’s relationship with the sassy Little Orphan Annie. The original Annie as we know her appeared in a comic strip started in 1924 by Harold Gray. It was going to be “Little Orphan Otto,” but a friend convinced Gray to change it based on James Whitcomb Riley’s even older 1885 poem “Little Orphant Annie,” which in turn was based on a real orphan child living with the Riley family, Mary Alice Smith.

The comic strip ran for decades and limped along for about 40 more years after Gray’s death. Annie of the comics was Nancy Drew crossed with Dick Tracy; she spent a lot of her time fighting Nazis and uncovering communist plots. And those round, empty eye sockets? Those were on purpose, according to Gray. “The blank eyeballs served to enhance reader involvement with the strip: not seeing what is going on in the eyes of the characters, readers could impose their own fears and concerns into the narrative.”

In the 1930s, two Annie adventure movies were made. The Broadway play released in 1977 was the most successful incarnation of Annie since her days of being shot at by gangsters. It was followed by the 1982 movie, a made-for-television remake in 1999, and a 2014 reboot.

14. 10-YEAR-OLD AILEEN QUINN WON BOTH A RAZZIE AND A BEST YOUNG ARTIST FILM AWARD FOR HER PERFORMANCE.

It is indicative of how puzzled people were with Annie that they couldn’t decide if its tiny star was a prodigy or a freckle-faced misery. She was awarded the Razzie for Worst Actress in a lead role, but took home a Best Young Artist Award, too. She also received a Golden Globe nomination.

15. TIM CURRY SIGNED ON FOR THE PART OF ROOSTER BECAUSE MUSICALS WERE SOME OF THE ONLY MOVIES HE WAS ALLOWED TO WATCH GROWING UP.

Tim Curry was the son of a Royal Navy Chaplain and a school secretary. He described his childhood as “strict,” and that fact might have had an effect on his career choices. During this unedited interview, a very bored, jet-lagged looking young Curry describes his desire to be in Annie“Long time ambition really, to do a Hollywood musical. [They] were one of the movies I was allowed to see. I had a very strict childhood, but Hollywood musicals were all right.” But wait, if you want to see a tiny flash of the man who brought Pennywise, Frank-n-Furter, and Darkness to life, skip to 3:30, where he describes his character, Rooster.

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6 Times There Were Ties at the Oscars
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getty images (March and Beery)/ istock (oscar)

Only six ties have ever occurred during the Academy Awards' near-90-year history. The Academy of Motion Picture Arts and Sciences (AMPAS) members vote for nominees in their corresponding categories; here are the six times they have come to a split decision.

1. BEST ACTOR // 1932

Back in 1932, at the fifth annual Oscars ceremony, the voting rules were different than they are today. If a nominee received an achievement that came within three votes of the winner, then that achievement (or person) would also receive an award. Actor Fredric March had one more vote than competitor Wallace Beery, but because the votes were so close, the Academy honored both of them. (They beat the category’s only other nominee, Alfred Lunt.) March won for his performance in horror film Dr. Jekyll and Mr. Hyde (female writer Frances Marion won Best Screenplay for the film), and Beery won for The Champ, which was remade in 1979 with Ricky Schroder and Jon Voight. Both Beery and March were previous nominees: Beery was nominated for The Big House and March for The Royal Family of Broadway. March won another Oscar in 1947 for The Best Years of Our Lives, also a Best Picture winner. Fun fact: March was the first actor to win an Oscar for a horror film.

2. BEST DOCUMENTARY SHORT SUBJECT // 1950

By 1950, the above rule had been changed, but there was still a tie at that year's Oscars. A Chance to Live, an 18-minute movie directed by James L. Shute, tied with animated film So Much for So Little. Shute’s film was a part of Time Inc.’s "The March of Time" newsreel series and chronicles Monsignor John Patrick Carroll-Abbing putting together a Boys’ Home in Italy. Directed by Bugs Bunny’s Chuck Jones, So Much for So Little was a 10-minute animated film about America’s troubling healthcare situation. The films were up against two other movies: a French film named 1848—about the French Revolution of 1848—and a Canadian film entitled The Rising Tide.

3. BEST ACTRESS // 1969

Probably the best-known Oscars tie, this was the second and last time an acting award was split. When presenter Ingrid Bergman opened up the envelope, she discovered a tie between newcomer Barbra Streisand and two-time Oscar winner Katharine Hepburn—both received 3030 votes. Streisand, who was 26 years old, tied with the 61-year-old The Lion in Winter star, who had already been nominated 10 times in her lengthy career, and won the Best Actress Oscar the previous year for Guess Who’s Coming to Dinner. Hepburn was not in attendance, so all eyes fell on Funny Girl winner Streisand, who wore a revealing, sequined bell-bottomed-pantsuit and gave an inspired speech. “Hello, gorgeous,” she famously said to the statuette, echoing her first line in Funny Girl.

A few years earlier, Babs had received a Tony nomination for her portrayal of Fanny Brice in the Broadway musical Funny Girl, but didn’t win. At this point in her career, she was a Grammy-winning singer, but Funny Girl was her movie debut (and what a debut it was). In 1974, Streisand was nominated again for The Way We Were, and won again in 1977 for her and Paul Williams’s song “Evergreen,” from A Star is Born. Four-time Oscar winner Hepburn won her final Oscar in 1982 for On Golden Pond.

4. BEST DOCUMENTARY FEATURE // 1987

The March 30, 1987 telecast made history with yet another documentary tie, this time for Documentary Feature. Oprah presented the awards to Brigitte Berman’s film about clarinetist Artie Shaw, Artie Shaw: Time is All You’ve Got, and to Down and Out in America, a film about widespread American poverty in the ‘80s. Former Oscar winner Lee Grant (who won the Best Supporting Actress Oscar in 1976 for Shampoo) directed Down and Out and won the award for producers Joseph Feury and Milton Justice. “This is for the people who are still down and out in America,” Grant said in her acceptance speech.

5. BEST SHORT FILM (LIVE ACTION) // 1995

More than 20 years ago—the same year Tom Hanks won for Forrest Gump—the Short Film (Live Action) category saw a tie between two disparate films: the 23-minute British comedy Franz Kafka’s It’s a Wonderful Life, and the LGBTQ youth film Trevor. Doctor Who star Peter Capaldi wrote and directed the former, which stars Richard E. Grant (Girls, Withnail & I) as Kafka. The BBC Scotland film envisions Kafka stumbling through writing The Metamorphosis.

Trevor is a dramatic film about a gay 13-year-old boy who attempts suicide. Written by James Lecesne and directed by Peggy Rajski, the film inspired the creation of The Trevor Project to help gay youths in crisis. “We made our film for anyone who’s ever felt like an outsider,” Rajski said in her acceptance speech, which came after Capaldi's. “It celebrates all those who make it through difficult times and mourns those who didn’t.” It was yet another short film ahead of its time.

6. BEST SOUND EDITING // 2013

The latest Oscar tie happened only three years ago, when Zero Dark Thirty and Skyfall beat Argo, Django Unchained, and Life of Pi in sound editing. Mark Wahlberg and his animated co-star Ted presented the award to Zero Dark Thirty’s Paul N.J. Ottosson and Skyfall’s Per Hallberg and Karen Baker Landers. “No B.S., we have a tie,” Wahlberg said to the crowd, assuring them he wasn’t kidding. Ottosson was announced first and gave his speech before Hallberg and Baker Landers found out that they were the other victors.

It wasn’t any of the winners' first trip to the rodeo: Ottosson won two in 2010 for his previous collaboration with Kathryn Bigelow, The Hurt Locker (Best Achievement in Sound Editing and Sound Mixing); Hallberg previously won an Oscar for Best Sound Effects Editing for Braveheart in 1996, and in 2008 both Hallberg and Baker Landers won Best Achievement in Sound Editing for The Bourne Ultimatum.

Ottosson told The Hollywood Reporter he possibly predicted his win: “Just before our category came up another fellow nominee sat next to me and I said, ‘What if there’s a tie, what would they do?’ and then we got a tie,” Ottosson said. Hallberg also commented to the Reporter on his win. “Any time that you get involved in some kind of history making, that would be good.”

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Mister Rogers Is Now a Funko Pop! and It’s Such a Good Feeling, a Very Good Feeling
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It’s a beautiful day in this neighborhood for fans of Mister Rogers, as Funko has announced that, just in time for the 50th anniversary of Mister Rogers’ Neighborhood, the kindest soul to ever grace a television screen will be honored with a series of Funko toys, some of them limited-edition versions.

The news broke at the New York Toy Fair, where the pop culture-loving toy company revealed a new Pop Funko! in Fred Rogers’s likeness—he’ll be holding onto the Neighborhood Trolley—plus a Mister Rogers Pop! keychain and a SuperCute Plush.

In addition to the standard Pop! figurine, there will also be a Funko Shop exclusive version, in which everyone’s favorite neighbor will be wearing a special blue sweater. Barnes & Noble will also carry its own special edition, which will see Fred wearing a red cardigan and holding a King Friday puppet instead of the Neighborhood Trolley.

 

Barnes & Noble's special edition Mister Rogers Funko Pop!
Funko

Mister Rogers’s seemingly endless supply of colored cardigans was an integral part of the show, and a sweet tribute to his mom (who knitted all of them). But don’t go running out to snatch up the whole collection just yet; Funko won’t release these sure-to-sell-out items until June 1, but you can pre-order your Pop! on Amazon right now.

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